Tag: Canon

DPRSplit is a new utility by LibRaw (the makers of FastRawViewer and RawDigger) that lets you squeeze extra dynamic range out of Canon 5D Mark IV RAW files. It may sound like magic, but the program works by separating the data captured by the DSLR’s Dual Pixel sensor.
The main screen of DPRSplit.
“Canon 5D Mark IV’s sensor has a somewhat unusual pixel arrangement: each pixel is composed of two subpixels,” writes FastRawViewer. “If Dual Pixel RAW mode is enabled in the camera, the resulting CR2 file contains two images, or two frames: one composite, made from reading both

If you want to see a picture of Canon and Nikon’s continued dominance in the world of sports photography, just take a look at the massive camera arsenals each company brought to the 2018 Winter Olympics in PyeongChang, South Korea.
Canon and Nikon both have 60 tech reps from over 10 countries around the world on hand to provide photographers with assistance, including services such as cleaning, checking, and calibrating equipment.

Canon’s Camera Arsenal

Canon says it has 1,359 different items on hand, including 205 cameras and 520 lenses. 100 of those cameras are 1D X Mark II DSLRs, which

Canon is set to unveil its first mirrorless camera capable of 4K video recording, according to a new report. The capability will be appearing in the soon-to-be-announced EOS M50.
Canon Rumors reports that the EOS M50 will be Canon’s first APS-C crop sensor camera to shoot 4K video.
Canon has been lagging behind when it comes to offering 4K video across its digital camera lines, so it looks like Canon is finally making a push in that direction starting with the M50.
Canon Rumors also reports that the M50 will feature an EF-M mount and will be announced sometime this

Last year’s Pacific Northwest Lens Summit was hugely successful*, so they’re doing it again: a day-long open house at Koerner Camera in Portland, Oregon on Saturday, May 5th from 10am to 5pm.
Most—possibly all—of the big names in cinema glass will be there, showing off primes and zooms; spherical, aspherical, and anamorphic lenses; adapters, converters, controllers, and focus-assist accessories; lenses for 2/3″ video on up to full-frame and possibly beyond. It’s not just the glass, either, it’s the folks behind the glass, like Les Zellan from Cooke, Jeff Cree from BandPro, and Matthew Duclos from Duclos Lenses (of course!),

The new Sigma 14-24mm F2.8 DG HSM Art is announced at the same time Sigma introduces a new front conversion service for lenses used in Virtual Reality videography.
Announced as the ideal ultra-wide-angle zoom lens for the most demanding photographers, the Sigma 14-24mm F2.8 DG HSM Art continues to expand the Art collection from the company, while it represents a new addition to the Global Vision Lens concept created by Sigma. The lens, featuring a constant F2.8 aperture throughout the entire zoom range, is designed, according to Sigma,”for 50-megapixel plus cameras for outstanding high-resolution image quality.”

Live panel discussions, interactive displays of Canon equipment and a workshop “Backpack Filmmaking with the EOS C200,” were all part of Canon’s presence at the 2018 Sundance Film Festival.
Although nothing is official, Dual Pixel AF is having a new version coming to both cinema and still cameras, confirming that the technology has potential to expand further, as yet another tool accessible to both professionals and enthusiasts. But at 2018 Sundance Film Festival, Canon, who is a sponsor of the event, showed the goods they could show right now. Guests were invited to take a hands-on tour of Canon’s newest

The ability to reduce light pollution when photographing the night sky was covered in the first article about NiSi’s Natural Night filter. Now it is time to look at its uses in video and cityscape photography.
Besides night sky photography, its first intended use, the NiSi Natural Night filter can also be used for cityscapes at night, and for video. Although the astrophotography uses was what attracted my attention – and the promised reduction in light pollution – I saw different photographers using it for cityscapes, with a variety of results, some of which revealed too much of a color

Designed to cover everything from small conference rooms to large lecture halls, the six new REALiS LCOS projectors arrive with six interchangeable Genuine Canon lenses designed to minimize brightness loss.
Canon continues to expand its line of projectors with the six new models now announced, which join the REALiS LCOS projector lineup. The REALiS WUX5800Z, WUX6600Z, and WUX7000Z Laser Projectors and the REALiS WUX5800, WUX6700, and WUX7500 Lamp Projectors offer users WUXGA (1920 x 1200) high resolution, high brightness ranging from 5800-7500 Lumens and versatile connectivity including HDMI and DisplayPort terminals – all in an enhanced, durable compact body.
The

Announced as the camcorder to satisfy video enthusiasts’ creative needs, the new LEGRIA HF G26 has some interesting touches, such as a professional grade zoom rocker, among other features. No 4K, in case you asked, it’s only Full HD.
This new camcorder is revealed right after Canon announced its 2017 year end results and, before looking at this model of video camera, which is, again, Full HD and not 4K, it may be a good idea to check the numbers. According to the info available, “results for the company were extremely positive with new business units bumping up Canon’s

Photographer Mark Duffy recently switched from Canon to Fuji, trading in the former to pick up the latter, and in this 14-minute video he shares his thoughts and impressions. For those of you who may be looking to hear insights into what the first experience with a mirrorless setup is really like, coming from the world of DSLRs, then this is a video for you.
Duffy opted for a Fujifilm X-T2 and and X-T20. He originally had a Canon 6D but opted to move over to Fuji having spent some time with the cameras for a YouTube video review.
“I

Update: It turns out these photos may not be real. See update at the bottom of this post.
The first photos of the upcoming Canon PowerShot G7X Mark III camera have been leaked, and the images reveal that 4K video recording is finally coming to the PowerShot line.
Photo Rumors received and published the first leaked photos of this camera, which will replace the Canon G7X Mark II. From the images, it appears that Canon is taking a new direction with the physical design of the camera — one that’s smoother, sleeker, and simpler.
Canon Rumors notes that a

If you’re a Canon shooter who has been waiting for Canon to get serious about mirrorless cameras, here’s some promising news: Canon has reportedly been asking its professionals what they’d like to see in a mirrorless camera.
Canon Rumors is hearing from a trusted source that Canon has been surveying select Explorers of Light and other professionals to find out what they’d expect in a professional mirrorless camera that’s “‘compelling’ enough to purchase and use.”
Canon’s CEO recently admitted in an interview that his company has been lagging in innovation behind other companies and that Canon is now determined

Canon generated some controversy this week by widely sharing a photo that contained portions taken without permission from a shot by photographer Elia Locardi using a Fujifilm camera. The company has now responded, but instead of issuing an apology, it’s clear Canon can’t tell that the infringement occurred.
The photo above is what Canon shared through its Facebook and Instagram accounts in Italy and Spain. Much of the top half of the image was clearly taken from this photo by Locardi:
Photograph by Elia Locardi.
Locardi’s sky (and likely some of the trees) were combined with a different photo containing

Canon recently shared a beautiful Golden Hour landscape photograph on social media in Italy and Spain. Problem was, it was a composite photo in which a large portion of the image was taken without permission (and without giving credit) from a photo by well-known landscape photographer Elia Locardi.
Fstoppers first reported on the infringement after being made aware of the shared photos on Canon Italy’s Facebook page and Canon Spain’s Instagram page.
Here’s a larger version of the photo published by Canon:
The photo published to Canon’s social media.
The photo looked strangely similar to this photograph by Locardi:
Photograph

Canon has admitted that it’s lagging behind other companies in innovation, and it’s resolving to do better in the area.
In a new interview with the Nikkei Asian Review, Canon Chairman and CEO Fujio Mitarai spoke about how Canon needs to start looking into the future if it hopes to stay competitive in the rapidly evolving world of technology.
When asked what he believes to be the biggest issue currently facing Canon, Mitarai pointed at the relative lack of cutting-edge tech.
“Our primary management goal this year is to raise our antennas high toward cutting-edge technology,” Mitarai tells Nikkei.

Whether you get your version under the name Samyang or Rokinon, the AF 14mm F2.8EF is the first EF mount autofocus lens, offering Canon users a potential alternative for wide-angle photography.
With a suggested price around $850, which is less than the $2000 asked for the original EF 14mm F2.8L II IS USM from Canon, the Samyang AF 14mm F2.8EF is a more affordable solution, which may interest photographers and videographers on a budget. If the quality is there, something that at the moment is still not possible to confirm, this is good news for Canon users.

The Korean camera equipment manufacturer Samyang has announced its new Samyang AF 14mm f/2.8 EF lens. It’s the company’s first-ever autofocus lens for Canon EF-mount cameras.
The lens, which follows in the footsteps of the new Chinese Yongnuo 14mm f/2.8 autofocus lens, features a lightweight (17oz/485g) build, an ultra-wide angle-of-view of 116.6°, and an autofocus system that claims to be fast, quiet, and accurate.
Inside the lens are 15 elements in 10 groups, including 7 special optics: 2 aspherical lenses, 4 high-refractive lenses, and 1 extra-low dispersion lens.
This design “minimizes distortion and various aberrations while

Sony’s latest mirrorless cameras are much improved when it comes to shooting with adapted lenses from other manufacturers. To test just how well it works, photographer Manny Ortiz got his hands on a $5,700 Canon 200mm f/2.L IS lens and mounted it to his new Sony a7R III camera.
One adapter you can use is the $250 Sigma MC-11, which Sigma made to mount its Canon EF-mount lenses to Sony’s E-mount cameras.
The a7R III and 200mm pairing is “the sexiest camera lens combo that I’ve ever held in my hands,” Ortiz says.
This combo was exciting to

I’m not happy with just knowing that colors work together in artistic ways. I want to know why. Here are some thoughts. I’m a strict amateur in the world of color (I’m not a color scientist or an art expert) but I have some thoughts on the matter that I’d like to share, just in case they’re thoughts you haven’t had yet. Awareness is the key to discovery, so keeping some of these thoughts in mind should help me, and perhaps you, to learn how to use color better.

PRIMARY COLORS

The Sony A7R III boasts some impressive and improved autofocus features. The Eye Autofocus mode is great for locking onto your target, but The Brotographer found that it didn’t work perfectly in the previous a7R II with adapted lenses. In this 12-minute video, however, he reveals major improvements for adapted Canon glass on the latest Sony camera.
The test was carried out on a number of lenses mounted to a Metabones Mark IV adapter: the Canon 85mm f/1.2L II, Canon 35mm f/1.4L II, Canon 70-200mm f/2.8L IS II, and Tamron 90mm f/2.8 Macro.
In what will be music to the

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